British Museum blog

Communicating with the dead?

Neal Spencer, British Museum

Sandstone bust (front)

Excavating ancient houses in the Nile Valley typically yields masses of pottery, simple stone tools and other modest objects.

Though unspectacular, these provide an important insight into the technologies, dietary customs and even religious beliefs of the ancient inhabitants, and sometimes help tell us how different spaces were used.

Project team member René Kertesz revealing the sandstone bust

Occasionally, however, a more spectacular find appears. Last season, digging the back room of a narrow three-roomed house dating to the time of Ramesses III or shortly after (around 1150 BC), the windblown sand parted to reveal a small sandstone bust of a male figure, still perched atop the pedestal constructed to support it.

Only 29.2cm high, the bust shows a male figure with a short wig. Remnants of blue and red paint on the chest and upper back suggest he was shown wearing a collar of beads and pendants.

Around 150 similar ancestor busts have been found – some are on display in the British Museum but this one is unusual in being found where the ancient inhabitants had placed it.

The back of the sandstone bust

Not all were placed in houses: some come from near temples, chapels and even tombs. Inscribed stelae show individuals offering to similar busts, and it has been suggested that these allowed the living to communicate and request the intervention of the deceased in earthly matters (disease, disputes and so on).

Narrow three-roomed house – the bust was found in the near room

Four examples are inscribed with the names of individuals, but the majority do not bear a name – like the Amara West example – and could perhaps have fulfilled different meanings for different people. Intriguingly, the rear room of the house was blocked up with the ancestor bust still inside, while people continued to live in the other two rooms.

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  1. […] In fact, the inhabitants may have slept in the central room, warmed by the hearth. The back of one house clearly functioned as a space for ritual activity – an ancestor bust was found there. […]

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We welcome nearly 7 million visitors a year to the Museum and this photo by @zoenorfolk wonderfully captures the movement of people around the Great Court. Completed in 2000, the Great Court also features a quote by Tennyson: 'and let thy feet millenniums hence be in the midst...’
#repost #regram
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum In 2000, the Queen Elizabeth II Great Court designed by Foster and Partners transformed the Museum’s inner courtyard into the largest covered public square in Europe. We love this striking photo by @adders77 showing this incredible space at night #regram #repost
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum This wonderful photo by @what_fran_saw captures the stunning Great Court #regram #repost
The two-acre space of the Great Court is enclosed by a spectacular glass roof made of 3,312 unique pieces!
Share your photos of the British Museum with us using #mybritishmuseum and tag @britishmuseum The roaring lions on the walls of King Nebuchadnezzar II’s palace represented the Babylonian king himself and were intended to astonish approaching visitors. Nebuchadnezzar commissioned major building projects in Babylon to glorify the capital of his empire. Glazed bricks in bright shades of blue, yellow and white were favoured for public monuments in order to emphasise both divine and royal power. These works displayed the might of the city and its king, who commanded unlimited resources.
Glazed brick panel showing a roaring lion from the Throne Room of Nebuchadnezzar II, 605–562 BC. From Babylon, southern Iraq. On loan from Vorderasiatisches Museum, Berlin.
Share your photos using #mybritishmuseum and tagging @britishmuseum.
#lion #art #history #BritishMuseum Lions have perhaps been adopted as a symbol more than any other animal. They are seen as proud, fierce and magnificent – characteristics that made kings and countries want to associate themselves with these charismatic big cats. As well as being the national symbol of England and Scotland, the lion is in many ways the symbol of the British Museum. Lions guard both entrances to the building. At the Montague Place entrance are the languid lions carved by Sir George Frampton, and on the glass doors of the Main entrance are the cat-like beasts designed by the sculptor Alfred Stevens in 1852.
This lion can be found on the wooden doorframe at the south entrance to the Museum, and its nose is polished smooth by the many visitors who rub it for luck on their way in. Share your photos using #mybritishmuseum and tagging @britishmuseum This colossal lion in the Great Court is one of the most photographed objects in the Museum. It weighs more than 6 tons and comes from a tomb in the ancient cemetery of Knidos, a coastal city now in south-west Turkey. The tomb stood on the edge of a cliff overlooking the approach to Knidos harbour. The building was 18 metres high and the lion was on top of its pyramid roof. The hollow eyes of the lion were probably originally inset with coloured glass, and the reflection of light may have been an aid to sailors navigating the notoriously difficult coast. It is carved from one piece of marble, brought across the Aegean Sea from Mt Pentelikon near the city of Athens. Opinions vary as to when it was built. One suggestion is that it commemorated a naval battle off Knidos in 394 BC.
We’ll be sharing more lovely lions this week! Share your photos using #mybritishmuseum and tagging @britishmuseum.
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